Academic literature on the topic 'Presbyterian Church in the U.S. (General)'

This Year 2021 Marks The Centenary Of The Death Of The Theologian Benjamin B.Warfield. He Was A Son Of The Southern Presbyterian Church. John Meeter Summarizes Warfield’s Life As Follows: Benjamin Breckinridge Warfield Was Born Into A Godly Presbyterian Home At “Grasmere,” Near Lexington, Kentucky, November 5th, 1851. When Only Nineteen Years Of Age He Was Graduated From What Is Now Princeton University, With The Highest Honor Of His Class. After Two Years Of Further Study And Travel Abroad He Entered Princeton Seminary, Graduating In The Class Of 1876. In 1878 He Was Appointed Instructor, And In 1879 Installed As Professor Of New Testament Exegesis And Literature At Western Theological Seminary, Allegheny. In 1887 He Received And Accepted, The Appointment To The Charles Hodge Chair Of Didactic And Polemic Theology At Princeton Seminary; And For Thirty-three Years, From 1887 To The Time Of His Death In 1921, He Served Princeton Seminary And The Presbyterian Church U. S. A. In The Chair Made Famous By The Alexander-Hodge Succession. KEYWORDS:

This paper reflects on the debate at the 2018 General Assembly of the Church of Scotland on reviewing the status of the Westminster Confession of Faith as its principal subordinate standard of faith. It considers the role of doctrine in the church; whether it is appropriate to devote time and resources to consideration of doctrinal statements at this juncture when the church may be seen to be seen to be facing more pressing issues; and whether a framework such as the Presbyterian Church (USA)’s Book of Confessions might serve as a useful model for the way ahead – or whether such an approach would in fact only hamper lasting renewal in the church.

The new millennium has seen increased hostility to Israel among many progressive constituencies, including several mainline Protestant churches. The evangelical community in the US remains steadfastly Zionist, so overall support for financial aid to Israel remain secure. But the cultural impact of accusations that Israel is a settler colonialist or apartheid regime are nonetheless serious; they are proving sufficient to make support for the Jewish state a political issue for the first time in many decades. Despite a general movement in emphasis from theology to politics in church debate, there remain theological issues at the center of church discussion. The Protestant church with the longest running and most well-funded anti-Zionist constituency is the Presbyterian church in the US. In the last decade, its Israel/Palestine Mission Network (IPMN) has produced several increasingly anti-Zionist books designed to propel divestment resolutions in the church’s annual meeting. The most widely debated of these was 2014’s Zionism Unsettled: A Congregational Study Guide. This essay mounts a detailed analysis and critique of the book which documents the IPMN’s steady movement toward antisemitic positions. Among the theological issues underlying debate in Protestant denominations are the status of the divine covenant with the Jewish people, the role that the gift of land has as part of that covenant, and the nature of the characterization of the Jews as a “chosen people”. These, and other issues underlying Protestant anti-Zionism, have led to the formation of Presbyterians for Middle East Peace (PFMP), a group, unlike IPMN, that supports a two-state solution. The competing positions these groups have taken are of interest to all who want to track the role that Christian denominations have played in debates about the Israeli–Palestinian conflict.

The aim of this scientific paper is an understanding and an explanation of the place and the role of the Catholic Church in Austrian society but also in the Austrian political system for which say that is secular. After the introductory part which indicates on the opposition of the Catholic Church according to communism and liberalism in the past and which underlines the so-called Catholic third way actually the way of Christian Democracy, the first part of the scientific paper describes in detail the basic elements that led to the creation of Christian Democracy, among which is primarily the continuous Political Catholicism from which grew up the so-called Catholic Corporatism, and then follows the second part of the scientific paper which explains the implementation of such Political Catholicism in the Austrian political system through a formation of the so-called Social Partnership which forms the fondation of the Austrian political system and which is in fact the successor of Catholic Corporatism. Key words: Political Catholicism, Catholic Corporatism, Austrian People`s Party, Social Partnership, Christian Democracy.

The relationship held with liquor varies from person to person; a dear friend to those habituated to drinking however, a foe to those that lost a husband, a mother, a daughter and a son to liquor addiction, be it through consumption orharm induced by another consumer(s). The case of the Mizo Christians presents a unique construct on the making of a good Christian thoroughly rooted by the British Missionaries. One necessary pre-condition to the making of a good Christian was abstention from their beloved zu implying the renunciation to the ‘thing’ that held a tread that connected them to their cultural past. Thus, making abstention the symbol of the indigenized Christian and the culture left behind. The passing of years had only increased the Church’s aversion to the drink. Government policy enforced in 1973 had caused for such varieties to be introduced in the state. Prior to the introduction of the Mizoram Excise Act, 1973, civil society had done much to curb the proliferation of country liquor. The Mizoram Presbyterian Church in particular had lobbied for ‘total prohibition’ since 1991 which resulted in the enforcement of their objective, leading the reluctant Government to implement ‘forced sobriety’ in the state.

A painting of the Virgin and Child, signed as “OPVUS P. PETRI”, from the former Fareham Collection (today at the Courtauld Institute of Art), has been known in the scholarly literature for a long time but has only been subject to tangential analyses. These studies attempted to attribute it to painters meeting relatively dubious criteria: that their name was Peter (Petar) and that they could be linked to the painting circle of Squarcione or, more specifically, to that of Carlo Crivelli with whose early works, especially the Virgin and Child (the Huldschinsky Madonna) at the Fine Arts Gallery in San Diego, the Courtauld painting shares obvious connections. Roberto Longhi ascribed it to the Paduan painter Pietro Calzetta in 1926, while Franz Drey, in 1929, considered it to be the work of Pietro Alemanno, Crivelli’s disciple, who worked in the Marche region during the last quarter of the fifteenth century. After the Second World War, the Courtauld painting was almost completely ignored by the experts. The only serious judgement was that expressed by Pietro Zampetti, who established that it was an almost exact copy of Crivelli’s Huldschinsky Madonna, meaning that if Calzetti had painted it, he would have done it while Carlo was still in the Veneto, before he went to Zadar.The search for information which can shed more light on the attribution of the Virgin and Child from the Courtauld is aided by the valuable records in the Fondazione Federico Zeri at the Università di Bologna. The holdings of the Fototeca Zeri include three different photographs of the Courtauld painting with brief but useful accompanying notes. Of particular importance is the intriguing inscription on the back of one of the photographs, which points to the painting’s Dalmatian origin. In a certain way, this opens the possibility that it might be linked to another painter who was close to the Crivelli brothers: the Zadar priest and painter Petar Jordanić. That he may have been the one who painted it is indicated by the signature itself, which could be read as “OPVUS P(RESBITERI) PETRI”.Archival records about Petar Jordanić provide almost no information about his work as a painter. Apart from his signature of 1493 on a no-longer extant polyptich from the Church of St Mary at Zadar, the only record of his artistic activities is one piece of information: that in 1500 he took part in a delegation which was sent from Zadar to its hinterland charged with the task of making drawings of the terrain which could be used to help defend the town against the Ottoman Turks. However, more than thirty documents which mention him do paint a picture of his life’s journey and his connection with Zadar. The most important basis for any consideration of a possible connection between Petar Jordanić and Carlo Crivelli can be found in the will of his father Marko Jordanov Nozdronja (in late 1468) where Petar was named as the executor, meaning that at this point he was of age. Therefore, it can be concluded that he was born between 1446 and 1448. This makes him old enough to have been taught by Carlo during his stay in Zadar from c. 1460 to 1466. Although relatively modest, the oeuvre of Petar Jordanić demonstrates striking connections with the paintings of Carlo and Vittore Crivelli, and Ivo Petricioli has already put forward a hypothesis that he may have been taught by one of the brothers.The comparison between the painting from the Courtauld Institute of Art in London and the known works of Petar Jordanić (the Virgin and Child from a private collection in Vienna; the Virgin and Child from the Parish Church at Tkon; fragments of a painted ceiling from Zadar Cathedral; the lost polyptich from the Church of St Mary at Zadar) reveals a multitude of similar features. Apart from the general resemblance in the physiognomies of the Virgin and Christ Child which represent the most conspicuous analogies, a number of very specific “Morellian” elements can also be noted in the manner in which the faces were painted. These similarities are particularly apparent when one compares the head of the Christ Child on the painting from London and his head on the one from Tkon, which are almost identically depicted. Further similarities between the London painting and the one at Vienna can be seen in the way in which landscapes were painted and in the similar decorations of the gold fabrics in the backgrounds with their undulating scrolls and sharp almond-shaped leaves.However, with regard to visual characteristics, it is apparent at first sight that the quality of the London painting is markedly higher and that it is stylistically more advanced than those works which are attributed with certainty to Jordanić. These differences can be explained by the possibility that this was a more or less direct copy of one of Carlo Crivelli’s painting, probably not the Huldschinsky Madonna but one that was very similar to it and subsequently lost.Naturally, if the London painting is attributed to Petar Jordanić, meaning that it was produced in Zadar, then the argument on the basis of which the Huldschinsky Madonna has been dated to the time before Crivelli’s arrival in Zadar becomes a counter-argument, and, in that way, corroborates the possibility that the Huldschinsky Madonna, which shares a large number of similar elements with the painting from the Courtauld Institute of Art, was created while Carlo was in Zadar.

The present paper is the first instalment of a series focused on establishing some archaeometric characteristics of the modern finishings (mortars, fresco and layers of whitewash) of the Church of the Holy Archangels from Cic�u, Alba County, Romania, in order to assess the shape, with the structural-functional integrity and architectural and artistic aspect of the monument for the last historical context, between 1710 and 1790. This period is the most extensive and less known of the church�s stages of transformation: 11th�12th century (unknown), 15th century (known) and 18th century (partially known), which was very tumultuous from the socio-economic and political point of view. Thus, in the following pages we present the resulting archaeometric characteristics of optical microscopy (OM), scanning electron microscopes in combination with energy-dispersive X-Ray spectrometry (SEM-EDX) and thermal derivatography (TG/DTA/DTG) analyses of two pigments from the exonarthex fresco (made in 1781) and the later eight layers of whitewash applied over it, which allowed assessing the periods with marked changes in the architecture and polychrome finishings.

In 1922 and 1923, fundamentalists had high hopes that they could impose their standards on some major northern denominations. Fundamentalists were strongest in the Northern Baptist Convention and in the Presbyterian Church in the U. S. A. At the Northern Baptist Convention meeting in 1922, they hoped to have the body adopt a traditional creedal statement. But the move was soundly defeated. In 1922 Harry Emerson Fosdick, a modernist Baptist filling a Presbyterian pulpit, preached, “Shall the Fundamentalists Win?” That set off a heated controversy in the Presbyterian Church in the U. S. A. Conservative William Jennings Bryan narrowly lost election as moderator for the 1923 General Assembly. But the assembly reaffirmed the five-point Presbyterian essential doctrines. Clarence McCartney, a leading conservative preacher, answered Fosdick in a sermon, “Shall Unbelief Win?” J. Gresham Machen issued Christianity and Liberalism in 1923, arguing that traditional Christianity and modernism were really two different religions.